"My favourite poem is the one that starts 'Thirty days hath September' because it actually tells you something."-Groucho Marx

CLEAN, SHAVEN (1993): Certified Weird! "Intense as hell, with a soundtrack that can induce headaches and bloody visuals that will make you squirm, Clean, Shaven is nevertheless a fundamentally humane movie. Although it plays almost as a B-movie thriller at times, complete with gory scenes of self-mutilation that remind you of exploitation film money shots, the intent is not to disturb, but to make you feel a little bit of what schizophrenic Peter Winter feels by forcing you to spend time with the demons who haunt him daily."

NIGHTMARES COME AT NIGHT (1970): "It is bad enough to be constantly plagued by nightmares, but imagine—horrors!—if those nightmares were also directed by Jess Franco. They’d be poorly lit, out-of-focus, and go absolutely nowhere."

NIGHT TIDE (1961): " So cemented is [Dennis Hopper's] psychotic reputation from films like Blue Velvet (1986) and River’s Edge (1986) that his role here as a clean cut all-American boy under the spell of an aquatic succubus might be a little disconcerting."-AE

FUR: AN IMAGINARY PORTRAIT OF DIANE ARBUS (2006): "Diane plans to shoot a portrait of her neighbor as her first artistic venture into photography, but rather than setting up a tripod, she spends more and more time gadding about Manhattan with Lionel, who introduces her to his glamorous cadre of freaks and outsiders that includes an armless woman, a prostitute, an undertaker, a transvestite, and, naturally, dwarfs, dwarfs, dwarfs!"

THE FARTISTE (1987): "...one hour, while too short for a feature presentation, is too long for an extended fart joke..."

RETARD-O-TRON III (2013): "For those who think they’ve seen everything and can’t get it up for regular sleaze anymore, here’s your chance to gaze at humanity at its filthiest and most debased, with puke porn, geriatric porn, midget porn, scat porn, fake bestiality porn, stupid people being exploited for your amusement, and general nastiness."

« Last Edit: September 27, 2013, 05:15:22 PM by Rev. Powell »

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"The basic plot is that Donna Speir and Hope Marie Carlton, the two undercover DEA agent Playboy Playmates from the last movie, are still running around in jungle shorts, cowboy boots and spaghetti strap T-shirts, firing their machine guns at drug smugglers, Filipino communist guerrillas, and corrupt federal agents while their two friends, Lisa London and Miss May 1984 Patty Duffek, lounge around the pool a lot and talk on speaker phones that look like fax machines."-Joe Bob on SAVAGE BEACH

GARDEN STATE (2004): " To make up for being unoriginal, the movie also gives us Kenny Rodgers funeral covers, knights speaking Klingon, and Method Man as a peepshow-running bellhop. No one's ever done any of that before---at least, not in that exact spot on the quirk spectrum."

REALITY (2012): "It’s in the development of an ongoing analogy between celebrity-worship and conventional religion that Reality becomes fascinating; this preoccupation also makes the film legitimately Felliniesque. 'Grande Fratello' becomes an allegory for the Church: the house where the Chosen Ones dwell becomes Luciano’s vision of Heaven."

WELCOME TO NOWHERE (BULLET HOLE ROAD) (2013): "...there’s not so much a linear story that’s presented here as a collection of tropes associated with the road movie and the American West. There’s the doomed couple (are they adulterers?) meeting miserably in motel rooms and throwing furtive glances at each other; loners and psychos; hookers waiting for johns (or dead in motel rooms), and state troopers with mirrored sunglasses."-LRH

DECASIA (2002): " Nuns with schoolchildren, missionaries baptizing in a river, a boxer, crashing waves, a man reading a newspaper, landscapes, a geisha, miners, and volcanoes rise from the blemishes of a Dorian Gray portrait, once as handsome and muscular as the square jawed William S. Hart or as prettified as the coquettish Mary Pickford."-AE

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"The basic plot is that Donna Speir and Hope Marie Carlton, the two undercover DEA agent Playboy Playmates from the last movie, are still running around in jungle shorts, cowboy boots and spaghetti strap T-shirts, firing their machine guns at drug smugglers, Filipino communist guerrillas, and corrupt federal agents while their two friends, Lisa London and Miss May 1984 Patty Duffek, lounge around the pool a lot and talk on speaker phones that look like fax machines."-Joe Bob on SAVAGE BEACH

I enjoyed "Head"....it was funky and silly and fun. Didn't make a lot of sense,either,which added to it's charm. I especially loved "The Porpoise Song"....one of the Monkees least appreciated songs.

It's hard for me to believe I still haven't seen this all the way through. I caught the end of it on TV years ago and thought "I have to see this!" When someone else wanted to review it I lost another excuse to see it. Well, I'll get to it some day.

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"The basic plot is that Donna Speir and Hope Marie Carlton, the two undercover DEA agent Playboy Playmates from the last movie, are still running around in jungle shorts, cowboy boots and spaghetti strap T-shirts, firing their machine guns at drug smugglers, Filipino communist guerrillas, and corrupt federal agents while their two friends, Lisa London and Miss May 1984 Patty Duffek, lounge around the pool a lot and talk on speaker phones that look like fax machines."-Joe Bob on SAVAGE BEACH

THE ACT OF KILLING (2012): "Kill a man and you go to prison. Kill a thousand men, and you celebrate the feat by making a movie where dancing girls in pink chiffon strut out of a giant goldfish’s mouth."

MAGIC MAGIC (2013): "The movie’s climax invokes Chilean voodoo, a left-field gambit that’s fairly intense and spooky on its own; but, like a potentially interesting and emotionally resonant subplot involving Browning’s character, it doesn’t seem to belong to the main narrative in a meaningful way."

THE BULGARIAN PROPHET (2010): "... if this were done as a live-action no-budget indie, it would come off as half-assed and worse than amateurish. Animation, even crude animation, allows for the full expression of Batchev’s ideas, unfettered by budgetary constraints and laws of physics (such as when Ivan walks across a swimming pool full of sewage in front of the media as a demonstration of his newfound divinity)."-RLH

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"The basic plot is that Donna Speir and Hope Marie Carlton, the two undercover DEA agent Playboy Playmates from the last movie, are still running around in jungle shorts, cowboy boots and spaghetti strap T-shirts, firing their machine guns at drug smugglers, Filipino communist guerrillas, and corrupt federal agents while their two friends, Lisa London and Miss May 1984 Patty Duffek, lounge around the pool a lot and talk on speaker phones that look like fax machines."-Joe Bob on SAVAGE BEACH

Ah man the Act of Killing is a crazy documentary. Not a weird film as such but I tell you it sure does make for some fascinating viewing given the content.

It's my favorite film of the year so far, I'm not sure anything else can catch it.

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"The basic plot is that Donna Speir and Hope Marie Carlton, the two undercover DEA agent Playboy Playmates from the last movie, are still running around in jungle shorts, cowboy boots and spaghetti strap T-shirts, firing their machine guns at drug smugglers, Filipino communist guerrillas, and corrupt federal agents while their two friends, Lisa London and Miss May 1984 Patty Duffek, lounge around the pool a lot and talk on speaker phones that look like fax machines."-Joe Bob on SAVAGE BEACH

Yeah that'll be pretty tough to beat, it was pretty insane... If it doesn't at least get a nomination for an Academy Award I'm going to want to burn down Hollywood!

The casual way they explained all the awful things they did was just such a striking way to present the subject matter. I saw the directors cut at a film festival earlier in the year and at 159 minutes it was a brutal slog, but was never boring. Which version did you see?

Yeah that'll be pretty tough to beat, it was pretty insane... If it doesn't at least get a nomination for an Academy Award I'm going to want to burn down Hollywood!

The casual way they explained all the awful things they did was just such a striking way to present the subject matter. I saw the directors cut at a film festival earlier in the year and at 159 minutes it was a brutal slog, but was never boring. Which version did you see?

I saw the regular theatrical version. I hope to see the director's cut when it comes out on DVD here in Nov.

It's been a good year for documentaries, and THE ACT OF KILLING has a subtle anti-Hollywood undercurrent which may work against it. I think it will be nominated but not win. I would put my money on 20 FEET FROM STARDOM, which is uplifting and totally uncontroversial, as the Best Doc winner.

Logged

"The basic plot is that Donna Speir and Hope Marie Carlton, the two undercover DEA agent Playboy Playmates from the last movie, are still running around in jungle shorts, cowboy boots and spaghetti strap T-shirts, firing their machine guns at drug smugglers, Filipino communist guerrillas, and corrupt federal agents while their two friends, Lisa London and Miss May 1984 Patty Duffek, lounge around the pool a lot and talk on speaker phones that look like fax machines."-Joe Bob on SAVAGE BEACH

SECONDS (1966): "...a tight presentation of an offbeat plot idea which makes us guess and think all the way to the final-frame climax, in which we discover that the title term 'Seconds' has a cryptic, dual meaning beyond its connotation of 'second chances.'"-PD

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"The basic plot is that Donna Speir and Hope Marie Carlton, the two undercover DEA agent Playboy Playmates from the last movie, are still running around in jungle shorts, cowboy boots and spaghetti strap T-shirts, firing their machine guns at drug smugglers, Filipino communist guerrillas, and corrupt federal agents while their two friends, Lisa London and Miss May 1984 Patty Duffek, lounge around the pool a lot and talk on speaker phones that look like fax machines."-Joe Bob on SAVAGE BEACH